Sing to the lord

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• Publié par: opakito
• Nombre de lectures: 99
• Langue: English

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Issued by USCCB, November 14, 2007 Copyright © 2007, United States Conference of Catholic Bishops. All rights reserved. Sing to the Lord: Music in Divine Worship CONTENTS Abbreviations Foreword I. WHY WE SING Participation II. THE CHURCH AT PRAYER A. The Bishop B. The Priest C. The Deacon D. The Gathered Liturgical Assembly E. Ministers of Liturgical Music The Choir The Psalmist The Cantor The Organist and Other Instrumentalists The Director of Music Ministries F. Leadership and Formation G. Music in Catholic Schools H. Diverse Cultures and Languages I. Latin in the Liturgy III. THE MUSIC OF CATHOLIC WORSHIP A. Different Kinds of Music for the Liturgy Music for the Sacred Liturgy Gregorian Chant The Composer and Music of Our Day B. Instruments The Human Voice Musical Instruments Instrumental Music Recorded MusicC. Location of Musicians and Their Instruments D. Acoustics E. Copyrights and Participation Aids IV. PREPARING MUSIC FOR CATHOLIC WORSHIP A. What Parts Do We Sing? The Principle of Progressive Solemnity The Parts to Be Sung Sacred Silence B. Who Prepares the Music for the Liturgy? C. Care in the Choice of Music for the Liturgy D. Judging the Qualities of Music for the Liturgy The Three Judgments: One Evaluation The Liturgical Judgment The Pastoral Judgment The Musical Judgment V. THE MUSICAL STRUCTURE OF CATHOLIC WORSHIP A. Music and the Structure of the Mass The Introductory Rites The Liturgy of the Word The Liturgy of the Eucharist The Communion Rite The Concluding Rites B. Music and the Other Sacraments The Sacraments of Initiation The Initiation of Adults The Baptism of Children The Baptism of Children During Sunday Mass The Sacrament of Confirmation The Rite of Marriage The Rite of Ordination The Sacrament of Anointing of the Sick The Sacrament of Penance C. Music and the Liturgy of the Hours Responsorial Antiphonal Through-Composed Metrical Psalms Formula Tones Other Elements D. Other Liturgical Rites Sunday Celebrations in the Absence of a PriestWorship of the Eucharist Outside Mass Order of Christian Funerals E. Devotions VI. CONCLUSIONAbbreviations AG Second Vatican Council, Ad Gentes Divinitus (Decree on the Church’s Missionary Activity) (1965) BCL Bishops’ Committee on the Liturgy BLS USCCB, Built of Living Stones: Art, Architecture, and Worship (2000) CCC Catechism of the Catholic Church, 2nd edition CVL USCCB, Co-Workers in the Vineyard of the Lord: A Resource for Guiding the Development of Lay Ecclesial Ministry (2005) DV Second Vatican Council, Dei Verbum (Dogmatic Constitution on Divine Revelation) (1965) GILH General Instruction of the Liturgy of the Hours GIRM General Instruction of the Roman Missal GS Second Vatican Council, Gaudium et Spes (Pastoral Constitution on the Church in the Modern World) (1965) HCWEOM Holy Communion and Worship of the Eucharist Outside Mass LFM Lectionary for Mass LTA John Paul II, Letter to Artists (1999) MS Sacred Congregation for Rites, Musicam Sacram (Instruction on Music in the Liturgy) (1967) MSD Pius XII, Musicae Sacrae Disciplina (On Sacred Music) (1955)OCF Order of Christian Funerals ORD Rites of Ordination of a Bishop, of Priests, and of Deacons, 2nd typical edition PCS Pastoral Care of the Sick PL Patrologiae cursus completes: Series Latina RBC Rite of Baptism of Children RC Rite of Confirmation RCIA Rite of Christian Initiation of Adults RM Rite of Marriage SacCar Benedict XVI, Sacramentum Caritatis (Sacrament of Charity) (2007) SC Second Vatican Council, Sacrosanctum Concilium (Constitution on the Sacred Liturgy) (1963) USCCB United States Conference of Catholic BishopsSing to the Lord: Music in Divine Worship, a revision of Music in Catholic Worship, was developed by the Committee on Divine Worship of the United States Conference of Catholic Bishops (USCCB). On November 14, 2007, the Latin Church members of the USCCB approved these guidelines. These guidelines are designed to provide direction to those preparing for the celebration of the Sacred Liturgy according to the current liturgical books (in the ordinary form of celebration).Foreword Greetings from the bishops of the United States to priests, deacons, liturgists, music directors, composers, cantors, choirs, congregations, and faith communities throughout the 1United States. “Grace to you and peace from God our Father and the Lord Jesus Christ.” It is our duty and our joy as shepherds of the Church to guide and oversee liturgical song in each particular Church. Liturgy is the source of the Church’s prayer and action, and the summit by which our lives and all our ministries ascend to the Father. We pray that this document will draw all who worship the Lord into the fullness of liturgical, musical prayer. 1 Eph 1:1.I. WHY WE SING 1. God has bestowed upon his people the gift of song. God dwells within each human person, in the place where music takes its source. Indeed, God, the giver of song, is present 2whenever his people sing his praises. 2. A cry from deep within our being, music is a way for God to lead us to the realm of 3 4higher things. As St. Augustine says, “Singing is for the one who loves.” Music is therefore a sign of God’s love for us and of our love for him. In this sense, it is very personal. But unless music sounds, it is not music, and whenever it sounds, it is accessible to others. By its very nature song has both an individual and a communal dimension. Thus, it is no wonder that singing together in church expresses so well the sacramental presence of God to his people. 3. Our ancestors reveled in this gift, sometimes with God’s urging. “Write out this song, then, for yourselves,” God said to Moses. “Teach it to the Israelites and have them recite it, so 5that this song may be a witness for me.” The Chosen People, after they passed through the Red 6Sea, sang as one to the Lord. Deborah, a judge of Israel, sang to the Lord with Barak after God 7gave them victory. David and the Israelites “made merry before the Lord with all their strength, 8with singing and with citharas, harps, tambourines, sistrums and cymbals.” 2 “Do you not know that you are the temple of God, and that the Spirit of God dwells in you? If anyone destroys God’s temple, God will destroy that person; for the temple of God, which you are, is holy” (1 Cor 3:16-17). 3 See St. Augustine, Epis. 161, De origine animae hominis, 1, 2; PL XXXIII, 725, as quoted in Pope Pius XII, Encyclical On Sacred Music (Musicae Sacrae Disciplina) (MSD), no. 5, www.vatican.va/holy_father/pius_xii/encyclicals/documents/hf_p-xii_enc_25121955_musicae- sacrae_en.html. 4 St. Augustine, Sermo 336, 1 (PL 1844-1855, 38, 1472). 5 Dt 31:19. 6 Ex 15:1-18, 21. 7 Jgs 4:4–5:31. 8 2 Sm 6:5.94. Jesus and his apostles sang a hymn before their journey to the Mount of Olives. St. Paul instructed the Ephesians to “[address] one another in psalms and hymns and spiritual songs, 10 11singing and playing to the Lord in your hearts.” He sang with Silas in captivity. The letter of St. James asks, “Is anyone among you suffering? He should pray. Is anyone in good spirits? He 12should sing praise.” 5. Obedient to Christ and to the Church, we gather in liturgical assembly, week after week. As our predecessors did, we find ourselves “singing psalms, hymns and spiritual songs 13with gratitude in [our] hearts to God.” This common, sung expression of faith within liturgical celebrations strengthens our faith when it grows weak and draws us into the divinely inspired voice of the Church at prayer. Faith grows when it is well expressed in celebration. Good celebrations can foster and nourish faith. Poor celebrations may weaken it. Good music “make[s] the liturgical prayers of the Christian community more alive and fervent so that everyone can 14praise and beseech the Triune God more powerfully, more intently and more effectively.” 6. “In human life, signs and symbols occupy an important place. As a being at once body and spirit, man expresses and perceives spiritual realities through physical signs and symbols. . . . Inasmuch as they are creatures, these perceptible realities can become means of expressing the 15action of God who sanctifies men, and the action of men who offer worship to God.” This sacramental principle is the consistent belief of the Church throughout history. In Liturgy, we use 9 Mt 26:30; Mk 14:26. 10 Eph 5:18-19. 11 “About midnight . . . Paul and Silas were praying and singing hymns to God, as the other prisoners listened” (Acts 16:25) 12 Jas 5:13. 13 Col 3:16; see General Instruction of the Roman Missal (GIRM), no. 39 (Washington, DC: United States Conference of Catholic Bishops [USCCB], 2003). See Eph 5:19. 14 MSD, no. 31; see no. 33. 15 Catechism of the Catholic Church (CCC), 2nd ed., nos. 1146, 1148 (Washington, DC: Libreria Editrice Vaticana–USCCB, 2000).words, gestures, signs, and symbols to proclaim Christ’s presence and to reply with our worship and praise. 7. The primordial song of the Liturgy is the canticle of victory over sin and death. It is the song of the saints, standing beside “the sea of glass”: “They were holding God’s harps, and they 16sang the song of Moses, the servant of God, and the song of the Lamb.” “Liturgical singing is established in the midst of this great historical tension. For Israel, the event of salvation in the Red Sea will always be the main reason for praising God, the basic theme of the songs it sings before God. For Christians, the Resurrection of Christ is the true Exodus. . . . The definitively 17new song has been intoned. . . .” 8. The Paschal hymn, of course, does not cease when a liturgical celebration ends. Christ, whose praises we have sung, remains with us and leads us through church doors to the whole 18world, with its joys and hopes, griefs and anxieties. The words Jesus chose from the book of Isaiah at the beginning of his ministry b